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Soloing Over Bossa Chords
This lesson is an attempt to show how to construct a solo over altered chords and obscure progressions.
The rule I generally use is that over scalar runs I use the scale of that key. In other words over a series of chords in, say, F major I use the F major scale. Likewise with minor keys.
Tricky progressions however have funny chords in them. Over those I tend to use either arpeggios, chord fragments, or the appropriate pentatonic, usually minor.
The lesson uses the changes for Jobim's 'Desifinado'. It's an unusual progression. Here's the first part and what I played over it.
FM7 - notes taken from the chord. I find over static Major7 chords chord-tones work best. The chord can also be extended, as here where I've included the 9th (G) over the M7.
G7b5 - notes from either the G altered scale or Bb minor pentatonic since this gives the altered sound.
Gm7/C7 - notes from the F major scale (2-5 in F).
Am7b5/D7b9 - notes from the G harmonic minor scale (2-5 in Gm).
Gm7/A7b9 - I used a Gm pentatonic because it applies to both chords (Gm pentatonic is the 'right' sound over A7b9).
D7/D7b9 - Am pentatonic and Cm pentatonic.
G7b9/GbM7 - Fm pentatonic over both chords. Fm is the 'right' sound for G7b9 and Fm also produces the Lydian sound for GbM7. Always use the Lydian for a 'stand-alone' non-diatonic M7 chord.